A Quote by Simon Travaglia

It ain't the picture and it ain't the camera - it's the operator. — © Simon Travaglia
It ain't the picture and it ain't the camera - it's the operator.
Camera 1.0 was film. Camera 2.0 was digital. 3.0 is a light-field camera that opens all these new possibilities for your picture taking.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
A camera alone does not make a picture. To make a picture you need a camera, a photographer and above all a subject. It is the subject that determines the interest of the photograph.
Before the days of video village a director should stand right next to the camera, look with his naked eye and if he sees something that is real to him, he'd look up at the [camera] operator and if he gives the look to indicate he'd seen it to, then you print and you'd move on.
I don't remember the first picture I took, but I actually found a picture of myself on a trip back to my old family home in Malaysia. I'm five years old, sitting on the floor with the family camera in my hand. It was a film camera - not a DSLR - with a fixed lens and a nice manual zoom.
One time a guy handed me a picture. He said, 'Here's a picture of me when I was younger.' Every picture is of you when you were younger. 'Here's a picture of me when I'm older.' 'You son of bit, how'd you pull that off Let me see that camera. What's it look like'
Every serious nuclear accident involves operator error, so you want to eliminate the operator altogether.
Never ever say the word shoot when you are taking a picture with a camera because a camera is not a violent weapon.
In 'Winter's Bone,' it's literally the director and the camera operator. That's it. Just a super-small Kubrick crew. You know what I mean? Like, 8 people.
I always think, 'What does this picture mean? What's the best place to put my camera? Do I have anything extra in the picture, things in the background that will distract? Am I in the basic position that will give the essential things for this picture but not too much?'
We want to be number one, from the ingestion of content to the play-out to any type of channel. Everything between there, you should see Ericsson if you are a broadcaster, telecoms operator, or cable operator.
Pictures... are also opinions... [they] set down what the camera operator sees and he sees what he wants to see and what he loves and hates and pities and is proud of.
The telephone operator has one of the biggest roles in creating your organization's image....indeed, many people may come into contact with no one except your operator.
I don't want to carry big things around with me. I'm lazy. The snapshot camera, you just carry it around and take the picture. You don't need to think about anything. People in the street are not going to wait for you with a big camera. They would freak out. With a snapshot camera, they are comfortable.
I started off as a model maker, so the first part of my career was a model maker and then a motion control camera operator, so I shot a lot of miniatures.
If a film is very clever and well-written, that's what gives you freedom as a director. Part of the freedom in directing, for me, is that I'm also the camera operator. That's the place where things are less rigid, where I can adjust as I go along.
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